尼古拉斯（彼得·范·登·贝京 Peter Van den Begin 饰）身为比利时的国王，在民众面前一直都是一副不苟言笑的姿态，被媒体批评不够亲民。为了解决这个问题，尼古拉斯决定出访土耳其，王后（娜塔丽·拉罗什 Nathalie Laroche 饰）雇佣了纪录片导演邓肯（皮尔特·范·登·霍根班德 Pieter van den Hoogenband 饰）随行拍摄，希望能够通过这支纪录片一改尼古拉斯在国民心目中的形象。 　　哪知道就在出访的过程中，比利时的瓦隆区突然宣告独立，打了尼古拉斯一个措手不及，他慌慌忙忙决定回国，却又被无法准时起飞的飞机困在了土耳其。归国心切的国王决定从巴尔干地区走陆路回国。

尼古拉斯（彼得·范·登·贝京 Peter Van den Begin 饰）身为比利时的国王，在民众面前一直都是一副不苟言笑的姿态，被媒体批评不够亲民。为了解决这个问题，尼古拉斯决定出访土耳其，王后（娜塔丽·拉罗什 Nathalie Laroche 饰）雇佣了纪录片导演邓肯（皮尔特·范·登·霍根班德 Pieter van den Hoogenband 饰）随行拍摄，希望能够通过这支纪录片一改尼古拉斯在国民心目中的形象。 　　哪知道就在出访的过程中，比利时的瓦隆区突然宣告独立，打了尼古拉斯一个措手不及，他慌慌忙忙决定回国，却又被无法准时起飞的飞机困在了土耳其。归国心切的国王决定从巴尔干地区走陆路回国。

《Log in Belgium》是因为疫情被困在比利时安特卫普陌生酒店里的演员刘台午，通过电影这感性相通的假想世界寻找真正刘台午的私密记录。刘台午全程参与了企划、制作、剧本、导演、拍摄、剪辑以及音乐工作，本片采用100%智能手机拍摄。

《Log in Belgium》是因为疫情被困在比利时安特卫普陌生酒店里的演员刘台午，通过电影这感性相通的假想世界寻找真正刘台午的私密记录。刘台午全程参与了企划、制作、剧本、导演、拍摄、剪辑以及音乐工作，本片采用100%智能手机拍摄。

TV Mini-Series 　　在电影“乐懊恼DES Belges“改编，由雨果·克劳斯的小说，一个关于成长的故事和路易的生存和他在二战前和战争期间，德国占领下的佛兰芒家庭。战前的时间电影首发，路易斯为女性天主教修道院的寄宿学校去。德国占领，生活和适应新秩序的第二阶段。

天真可爱的小女孩（Irene Starewicz 饰）在丛林中采蘑菇，偶然发现一株白色的百合花。她将百合带回家中，请求博学的爷爷（Jan Wichniekski 饰）为她讲述关于比利时百合花的故事。慈祥的爷爷抱起心爱的孙女，开始讲述：很久很久以前，百合花在一条小溪旁尽情开放，周围草虫飞舞，鸟语花香，一派祥和景象。 　　某个夜晚，邪恶的甲壳虫军队企图向小溪附近扩张，他们浩浩荡荡杀向这片宁静的土地。勇敢的百合花阻挡了入侵者的去路，但在敌人的猛攻之下，它最终倒地身亡…… 　　导演Wladyslaw Starewicz，被称为停格动画的先锋。

The latest offering from CityTV Productions includes extensive archive material and exclusive interviews with Vincent Kompany, Eden Hazard, Pep Guardiola, Roberto Martinez and a host of others, to lift the lid on how the midfielder has become one of the finest players in the world. 　　With first-hand accounts from the family and friends who know him best, Made in Belgium explores the experiences which shaped De Bruyne’s life and career. 　　De Bruyne worked closely with CityTV to give fans a rare glimpse into his life and said: “Much of my talking is done on the pitch but it’s nice to reward the City fans with a little insight into who I am away from it and allow them to get to know me a little better.”

塔维是个有钱而喜欢艺术的年轻人，走到哪里都随身带着自己的摄象机。他和狂热的朋友组建了一个俱乐部，规则很简单：每次聚会时，成员都必须带一盘记录最近一次性狂欢的录象带。但是这个初衷是游戏的玩意渐渐变成危险的困局……

One fascinating facet of late capitalism is that it can take in almost anything and sell it back to us for profit. Particularly in Europe and North America, this has seen the absorption of drag culture and its commodification as mildly irreverent, high-ratings entertainment. Its significant value in normalising gender fluidity notwithstanding, that version of drag loses its inherent radicality, as a repudiation of the very foundations of oppressive social structures. 　　Avant-Drag! paints portraits of nine drag artists of varying gender expressions and sexualities who take to the streets of Athens to query, problematise and (yes, please!) undermine social strictures. Employing wildly imagined personas – like riot housewives and Albanian turbo-folk girls – who perform acts as revolutionary as praising abortion and as charming as drawing childish pictures, these artists call for social justice by taking aim at conservatism, patriarchy, patriotism, racism and sexism. 　　A line from the film’s exquisite punk-poetic narration describes this impulse perfectly: it’s “a demand to change the world that comes from the past, looking straight into the future.” And, lest you be concerned, have no fear that there is no shortage of gloriously outlandish outfits and towering high-heeled boots. This is drag, after all.